An exhibition in which the mor
al circuit between the eye and the hand is traveled.

\n

Featuring work by: KennethTam\, Martij
n Hendriks\, Alyse Emdur\, Oliver Laric\, Harun Farocki\, Bill Daniel\, Pet
er Bagge\, Unica Zurn\, Daniel Newman\, Emmett Moore\, and The Tabloid by G
ean Moreno and Ernesto Oroza. Can the eyes project evil? What does th
e act of looking do to affect the things we look at? If the eyes function a
s a deterministic mechanism for the actions taken by the hands\, it seems t
o be a very difficult mechanism to negotiate. The works included in this s
how interrogate the moral tension between the eyes\, the hand or may be sim
ply a result of the pressures of both.

\n

One can sit on Emmett Moore’s bench: a toppled fiberglass trashcan in the
center of the exhibition space. The trashcan is painted a saturated aqua
color and its design suggests origins in a theme park or outdoor mall from
the mid 20th century. Describing an act of delinquency by a hand in an env
ironment we can imagine with wry familiarity\, the seating sets the tone fo
r what is to be viewed from it. For example\, in Harun Faroki’s film Eye/M
achine\, we see images taken by the machines of war themselves\; the pictur
es don’t quite fit the rubric of propaganda. Instead the film suggests a po
licy of image-making that may have eclipsed the other functions of armed co
nflict.

\n

Where we can see these ethica
l traces we may be tempted to follow the morality described by them. First
we should consider not only the images but also how they are seen. What et
hical modifiers are the viewing conditions? Can the eye inflect these hand
marks with its own possibly deviant urges?